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Jane Austen's first novel—published posthumously in 1818—tells the story of Catherine Morland and her dangerously sweet nature, innocence, and sometime self-delusion. Though Austen's fallible heroine is repeatedly drawn into scrapes while vacationing at Bath and during her subsequent visit to Northanger Abbey, Catherine eventually triumphs, blossoming into a discerning woman who learns truths about love, life, and the heady power of literature. The satirical novel pokes fun at the gothic novel while earnestly emphasizing caution to the female sex.
Jane Austen's first novel—published posthumously in 1818—tells the story of Catherine Morland and her dangerously sweet nature, innocence, and sometime self-delusion. Though Austen's fallible heroine is repeatedly drawn into scrapes while vacationing at Bath and during her subsequent visit to Northanger Abbey, Catherine eventually triumphs, blossoming into a discerning woman who learns truths about love, life, and the heady power of literature. The satirical novel pokes fun at the gothic novel while earnestly emphasizing caution to the female sex.
Due to publisher restrictions the library cannot purchase additional copies of this title, and we apologize if there is a long waiting list. Be sure to check for other copies, because there may be other editions available.
Due to publisher restrictions the library cannot purchase additional copies of this title, and we apologize if there is a long waiting list. Be sure to check for other copies, because there may be other editions available.
Reviews-
Jane Austen once said that if she'd been a painter, she would have been a miniaturist, for she loved the fine details. Reader Anna Massey is wonderfully attentive to those details. General Tilney is sufficiently ponderous, Mrs. Allen suitably vapid, and Catherine Morland, albeit sensible, just silly enough to make her flights of imagination entertaining as she enters the mysterious world of the handsome Henry Tilney. Massey renders palpable all of Catherine's delight and confusion in this new world. Though not as interesting as PRIDE AND PREJUDICE or EMMA, Austen's first novel argues forcefully for the seriousness of the novel as a form, pokes good humored fun at some of the silliness of the gothic, and tells a delightful story to boot. P.E.F. (c) AudioFile 2001, Portland, Maine
Although published after her death, Northanger Abbey is one of Jane Austen's first novels. Like Don Quixote, it satirizes a popular literary genre of the day and draws distinctions between reality and illusion. Whereas Cervantes's novel took on a life--an archetypal one, in fact--independent of its original joke, Austen's novel suffers without at least a nodding acquaintance with the Gothic novels of Ann Radcliffe. A sheltered young woman mistakes relatively innocent actions for the sinister clues she reads about. A comedy of errors, of course, ensues. Academy Award-winner Glenda Jackson does an admirable job, particularly with Austen's memorable characterizations. Her touch is perhaps a bit too heavy for the aery narrative. But finding just the right tone for this author has eluded many a fine actor. Y.R. (c)AudioFile, Portland, Maine
Sarah Childs appears to revel in a mannered reading of Jane Austen's satire of gothic novels. The posturings and prejudices of 18th century middle-class attitudes are exclaimed in an arch parody of the Edith Sitwell style. Unfortunately, Childs fails to comprehend much of what she is reading. While the conversational sallies between Catherine and her companions are sprightly, narrative sections often stumble. The elegant phraseology loses its thrust in a tangle that suggests lack of rehearsal. Very poor production editing emphasizes these problems with hesitations and mistakes left uncorrected. The overall effect is amateurish. S.B.S. (c)AudioFile, Portland, Maine
Austen's parody of a gothic novel gets an elegant reading to match its elegant prose. Sheltered Catherine Morland goes to fashionable Bath with a wealthy neighbor and discovers society and love. Juliet Stevenson gives each character a unique voice--the duplicitous Isabelle; Catherine's suitor, Henry Tinley; and Catherine's vacuous hostess--and invests each conversation with energy and importance. At the same time, as Austen, Stevenson steps back and comments on gothic heroines and Catherine's failures at becoming one. The delivery of Henry's fanciful description of the Abbey as a dark and mysterious place is a mini-classic in itself. Those who love Austen's fiction will appreciate this classy production. J.B.G. Winner of AudioFile Earphones Award (c) AudioFile 2007, Portland, Maine
In this Woman's Hour dramatization, Juliet Stevenson elegantly presents Austen's novel with wry, nuanced humor. Stevenson captures impetuous, breathless Catherine's overactive imagination, fueled by the gothic novels she reads. From the vague, shallow Mrs. Allen to Catherine's intriguing, smooth-voiced suitor, Henry Tinley, Stevenson does a terrific job dramatizing all of Austen's characters, creating a new voice and persona for each. Stevenson's artful ability to convey Austen's characters and to dramatize their exchanges is underscored when she shifts back to the narrative voice reserved for Austen's ironic observations on their behavior. This audio program is so delightful that it's quite likely to send listeners looking for an unabridged version. J.C.G. (c) AudioFile 2008, Portland, Maine
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